Location-based technologies for learning

Emerging technologies for learning report - Article exploring location based technologies and their potential for educatio

Performing research: four contributions to HCI

This paper identifies a body of HCI research wherein the researchers take part in digitally mediated creative experiences alongside participants. We present our definition and rationale for "self-situated performance research" based on theories in both the HCI and performance literatures. We then analyse four case studies of this type of work, ranging from overtly "performative" staged events to locative audio and public making. We argue that by interrogating experience from within the context of self-situated performance, the 'performer/researcher' extends traditional practices in HCI in the following four ways: developing an intimate relationship between researchers and participants, providing new means of making sense of interactions, shaping participants' relationship to the research, and enabling researchers to refine their work as it is being conducted

Biometric data sharing in the wild:investigating the effects on online sports spectators

There has been a market surge in both provision of and demand for fitness applications and sport wearables. These werables often come equipped with highly sophisticated biometric data (e.g. heart rate) functionalities that make the capture and sharing of such biometric data increasingly common practice. A few research studies have considered the effect that sharing biometric data has on those individuals sharing this data. However, little is known regarding the social impact of sharing this data in real-time and online. In this study, we investigate whether there is value in sharing heart rate data within social applications and whether sharing this data influences the behavior of those seeing this data. We do so by conducting a study where the heart rate data of runners competing in a 5-km road race is shared in real-time with 140 online spectators. We collect rich quantitative data of user interaction though server logs, and a qualitative data set through interviews and online users' comments. We then compare and contrast the behavior of online spectators who are presented with heart rate data together with contextual data, and those who are only presented with contextual data, for example, location. We also examine whether this difference is dependent on the social relation between the athletes and the spectators. Results indicate that spectators who are presented with the runners' heart rate data support the athletes more and rate the presented system more positively. These effects are dependent on the social tie between the athletes and spectators. This is one of the first studies to carry out an empirical investigation in the wild on the effects of sharing heart rate data in an online social context. In this light, in addition to supporting earlier literature, the outcomes present new insights and research directions within the sporting context

Biometric data sharing in the wild:investigating the effects on online sports spectators

There has been a market surge in both provision of and demand for fitness applications and sport wearables. These werables often come equipped with highly sophisticated biometric data (e.g. heart rate) functionalities that make the capture and sharing of such biometric data increasingly common practice. A few research studies have considered the effect that sharing biometric data has on those individuals sharing this data. However, little is known regarding the social impact of sharing this data in real-time and online. In this study, we investigate whether there is value in sharing heart rate data within social applications and whether sharing this data influences the behavior of those seeing this data. We do so by conducting a study where the heart rate data of runners competing in a 5-km road race is shared in real-time with 140 online spectators. We collect rich quantitative data of user interaction though server logs, and a qualitative data set through interviews and online users' comments. We then compare and contrast the behavior of online spectators who are presented with heart rate data together with contextual data, and those who are only presented with contextual data, for example, location. We also examine whether this difference is dependent on the social relation between the athletes and the spectators. Results indicate that spectators who are presented with the runners' heart rate data support the athletes more and rate the presented system more positively. These effects are dependent on the social tie between the athletes and spectators. This is one of the first studies to carry out an empirical investigation in the wild on the effects of sharing heart rate data in an online social context. In this light, in addition to supporting earlier literature, the outcomes present new insights and research directions within the sporting context

Remote synchronous crowd support in challenging sports events

Social support is a most powerful expression of human beings. It can make humans overcome barriers that seem impossible. Research shows that athletes, who are supported through being cheered on during events, perform better. However, up until recently, little could be done to cheer athletes during races unless supporters were physically present at the event. We investigate ways in which remote online spectators can support athletes in real-time. Is the support from remote spectators effective? How can we design systems for real-time support and what factors influence their effectiveness? To research this, we iteratively design online crowd interfaces, mobile applications, and devices that allow athletes to communicate with distributed spectators during sport activities. Athletes are able to broadcast their live performance to spectators through locative and biometric data sharing. Concurrently, remote spectators support the athletes by clicking a cheer button that instantly makes the athletes aware that a crowd is following their performance. We then conduct a series of investigations during multiple sport events, using different support modalities and diverse crowds. Results indicate that remote crowd support does motivate the athletes by making the athletes aware that they are being supported. More interestingly, if we categorise supporters into close relatives, acquaintances and unknown spectators, the most effective support seems to be that of acquaintances. This work also provides design guidelines for researchers and designers of remote crowd support systems

A Prototype For Narrative-based Interactivity In Theme Parks

The purpose of this thesis is to look at the potential for interactive devices to enhance the story of future theme park attractions. The most common interactive theme park rides are about game-based interaction, competition, and scoring, rather than about story, character, and plot. Research into cognitive science, interactivity, narrative, immersion, user interface, theming and other fields of study illuminated some potentially useful guidelines for creating compelling experiences for park guests. In order to test some of these ideas, an interactive device was constructed and tested with study subjects. Each study subject watched a video recording of an existing theme park ride while using the device, and then filled out a survey concerning their experience. The results revealed how subjects view character-driven interactive devices, how a device should be blended into a ride sequence, how subjects think interactivity and responsiveness should be structured in regards to themselves and the ride, and begins to hint at their motivations for using interactive devices

Performing research: four contributions to HCI

This paper identifies a body of HCI research wherein the researchers take part in digitally mediated creative experiences alongside participants. We present our definition and rationale for "self-situated performance research" based on theories in both the HCI and performance literatures. We then analyse four case studies of this type of work, ranging from overtly "performative" staged events to locative audio and public making. We argue that by interrogating experience from within the context of self-situated performance, the 'performer/researcher' extends traditional practices in HCI in the following four ways: developing an intimate relationship between researchers and participants, providing new means of making sense of interactions, shaping participants' relationship to the research, and enabling researchers to refine their work as it is being conducted

The challenges of using biodata in promotional filmmaking

We present a study of how filmmakers collected and visualised physiological data---'biodata'---to construct a series of short promotional films depicting people undergoing 'thrilling' experiences. Drawing on ethnographic studies of two major advertising campaigns, we highlight key concerns for integrating sensors and sensor data into film production. Our findings address the perceived benefits of using biodata within narratives; the nature of different on-screen representations of biodata; and the challenges presented when integrating biodata into production processes. Drawing on this, we reconsider the nature of information visualisation in the filmmaking context. Further implications from our case studies provide recommendations for HCI collaborations with filmmaking and broadcast industries, focussing both on the practical matters of fitting sensor technologies into and handling data within production workflows, as well as discussing the broader implications for managing the veracity of that data within professional media production

Designing interfaces in public settings

The rapidly increasing reach of computation into our everyday public settings presents new and significant challenges for the design of interfaces. One key feature of these settings is the increased presence of third parties to interaction, watching or passing-by as conduct with an interface takes place. This thesis assumes a performative perspective on interaction in public, presenting a framework derived from four empirical studies of interaction in a diverse series of public places---museums and galleries, city streets and funfairs---as well as observations on a variety of computer science, art and sociological literatures. As these settings are explored, a number of basic framework concepts are built up: * The first study chapter presents a deployment of an interactive exhibit within an artistic installation, introducing a basic division of roles and the ways in which visitors may be seen as `audience' to manipulations of interactive devices by `participants'. It also examines how visitors in an audience role may transition to active participant and vice versa. * The second study chapter describes a storytelling event that employed a torch-based interface. This chapter makes a distinction between non-professional and professional members of settings, contrasting the role of `actor' with that of participants. * The third study chapter examines a series of scientific and artistic performance events that broadcast live telemetry data from a fairground ride to a watching audience. The study expands the roles introduced in previous chapters through making a further distinction between `behind-the-scenes'---in which `orchestrators' operate---and `centre-stage' settings---in which actors present the rider's experience to the audience. * The final study chapter presents a performance art game conducted on city streets, in which participants follow a series of often ambiguous clues in order to lead them to their goal. This chapter introduces a further `front-of-house' setting, the notion of a circumscribing performance `frame' in which the various roles are situated, and the additional role of the `bystander' as part of this. These observations are brought together into a design framework which analyses other literature to complement the earlier studies. This framework seeks to provide a new perspective on and language for human-computer interaction (HCI), introducing a series of sensitising concepts, constraints and strategies for design that may be employed in order to approach the various challenges presented by interaction in public settings

Designing digital vertigo experiences

Many people enjoy “vertigo” sensations caused by intense playful bodily activities; examples of such activities include spinning in circles, riding fairground rides, and driving fast cars. Game scholar Caillois calls the associated experiences “vertigo play”, elucidating that these enjoyable activities are a result of confusion between sensory channels. In Human-Computer Interaction (HCI), designers often attempt to avoid causing sensory confusion as it can be associated with a negative user experience. I believe this has led to a lack of understanding surrounding how to transition and extend Caillois' thinking from analogue games and play to the digital realm. However, with more digital games focusing on the body through technologies such as motion sensors and head mounted displays, an opportunity to understand how to design digital vertigo games has arisen. Understanding this will allow designers to create novel and intriguing digital bodily experiences inspired by traditional vertigo play activities. This thesis explores this opportunity by answering the research question: “How do we design digital vertigo experiences?” I developed and studied three different experiences to answer this research question. The first game, “Inner Disturbance”, is a single player game where sensory confusion is facilitated by manipulating a player's vestibular sense of balance through Galvanic Vestibular Stimulation (GVS). The second game, “Balance Ninja”, uses GVS to extend sensory confusion across two players through a feedback loop, whereby the lateral movements of each player affects the GVS system of the opposing player. In the final game, “AR Fighter”, Head Mounted Displays confuse players’ visual sense as a result of the opposing player's movements. Studies of the player experience of the three games led to the development of the Digital Vertigo Experience Framework. This framework, which presents designers with the first understanding of how to design digital vertigo experiences, contains two axes: amount of surrendered body agency, and extent of facilitated sensory confusion. The framework is split into four digital vertigo user experience areas: more daring, more overwhelming, more predictable, and more nauseating. Designers are encouraged to stay within these areas to avoid causing one of four possible risks to players: risk of physical injury, sensory overload, boredom, and nausea. With this work, I aim to bring the excitement of traditional vertigo play experiences to the digital world, guiding designers in their creation. Offering an increased understanding of digital vertigo play experiences will allow designers to create more engaging and exciting body-based games, and provide players with more possibilities to enjoy novel and exciting bodily-play experiences